the tiny canvasses in a group
the 4 inch canvasses grouped - Vivien Blackburn Jean asked about seeing the small canvasses together - here they are Jean :>)
looking at non traditional composition and quiet vs busy areas in paintings
Paul Klee I thought I'd look at non-traditional composition - where the rule of thirds isn't the key but the painting relies on different compositional methods. in response to an excellent series of posts on the various ways of looking at composition by Katherine (link at end). These alternative considerations or breaking of rules - but making it work - appeal to me more than too heavy a reliance on the rule of thirds. The painting above, by Paul Klee is a 'field' painting' - the composition is overall, the eye travels around enjoying the glowing colour that he creates by juxtaposing complementary colours, subtle greyed greens enhancing the oranges/reds/pinks. Most of the image is composed of the various greens, greeny browns and khakis, with accents of the warm colours. When working this way it's important that the balance is unequal and that the accent colours are placed carefully to keep the eye moving in the way the artist wants. A couple of the brighter...
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My work actually works best seen en masse - because it's about time as well that comes through when you see them together.
I was dubious when I ordered these tiny canvasses but I think I'll have to get some more :>)
I work plein air a LOT when I can and fill sketchbooks with mixed media works (and finished pieces)
then I work in the studio as well working on larger canvasses or alternatively, lately I've done quite a bit of very small work like these.
So, they are studio works from memories fixed by the plein air stuff.
I work fast and tend to have layers of paint - glazed, scumbled, splattered - whatever it takes to get what I want.
I mix a lot of colours on the canvas rather than on the palette.